The Glyndebourne Opera Cup – an international competition for opera singers is designed to discover and spotlight the best young singers from around the world, offering a top prize of £15,000 and a platform for launching an international opera career.

The theme of the inaugural competition is Mozart, and the finalists will be accompanied by The Orchestra of the Age of Enlightenment.

Additionally, this exciting competition will be televised in a dedicated TV series on Sky Arts, Glyndebourne’s official UK broadcast partner for this competition. The series will be presented by Chris Addison and Danielle de Niese.

An evening of Bramhs to include the Zwei Gesänge, Op. 91 with violist Barry Shiffman, pianist Anton Nel, and mezzo soprano Samantha Hankey.

Also on the program will be a violin sonata (Chee-Yun, violin and Anton Nel, piano) and the great horn trio (with William VerMeulen). This concert will kick off week two of the Rockport Chamber Music Festival.

Tickets are available April 5 for subscriptions, and April 17 for single shows. Visit rockportmusic.org for more information.

Celebrate St. Patrick’s Day with Samantha Hankey in recital with acclaimed pianist/conductor Timothy Long in a riveting program of Strauss, Prokofiev, and DeFalla. Wine and light fare (with an Irish twist!) will be served.

Tickets: $50

And it’s for a good cause: reinventing the classical music experience while raising awareness of and funding for Parkinson’s Research and Support Services.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Join us for a musical celebration of holiday favorites and help support thousands of disadvantaged students worldwide. Concert proceeds benefit the children and young adults through MCC’s Global Family educational programs. TheVoices of Hope Holiday Concert benefits the Global Family Program – an MCC Program that continues to enrich the educational lives of children around the world and bring an evening of unparalleled operatic excellence to Lancaster. 100% of all ticket sales goes directly to Global Family.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Gioacchino Rossini's classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?

In this version, the story is told from Rosina's point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden's storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.

Merola Opera Program presents the Merola Grand Finale and reception. Celebrate with the 2017 Merola young artists one last time before they head out to dazzle audiences around the world! The Merola Grand Finale is an exciting evening at the War Memorial Opera House, featuring scenes from some of opera’s most thrilling moments. Program to be announced at a later date.

Concert Tickets: $50/$40/$25 Reception Tickets: $75 Tickets go on sale Monday, April 17 and may be purchased by calling the San Francisco Opera Box Office at (415) 864-3330 or by visiting merola.org or sfopera.com. The box office is open Monday, 10 am to 5 pm, and Tuesday through Friday, 10 am to 6 pm.

The Merola Opera Program presents Rossini's La Cenerentola (performed in Italian with English supertitles). In Rossini's warmhearted retelling of the Cinderella story, the evil stepmother has become a wicked stepfather, the fairy godmother a philosopher, and the slipper has been swapped for a bracelet. Goodness and kindness triumph and melody reigns supreme.

Tickets: $70/$50. Tickets go on sale Monday, April 17 and may be purchased by calling the San Francisco Opera Box Office at (415) 864-3330 or by visiting merola.org or sfopera.com. The box office is open Monday, 10 am to 5 pm, and Tuesday through Friday, 10 am to 6 pm.

The Merola Opera Program presents Rossini's La Cenerentola (performed in Italian with English supertitles). In Rossini's warmhearted retelling of the Cinderella story, the evil stepmother has become a wicked stepfather, the fairy godmother a philosopher, and the slipper has been swapped for a bracelet. Goodness and kindness triumph and melody reigns supreme.

Tickets: $70/$50. Tickets go on sale Monday, April 17 and may be purchased by calling the San Francisco Opera Box Office at (415) 864-3330 or by visiting merola.org or sfopera.com. The box office is open Monday, 10 am to 5 pm, and Tuesday through Friday, 10 am to 6 pm.